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Make Your Own Liquid Hide – Results

Journeyman's Journal - 2 hours 13 min ago

If you remember my previous post I was making my own batch of liquid hide glue.

The results have turned out better than expected.  Tack time is about 4 mins and I really didn’t get much more from OBG. I ripped,jointed and edge glued the same beech and let it sit for an hour.  An hour is never usually long enough time as no glue can cure within that short time span, but it shocked that I couldn’t break the join.  What’s even more surprising that the glue dried clear! See for yourselves. The join is in the middle.

Beech-And-Hide

Then I edge glued pine and the squeeze out was a light transparent brown colour. When I wiped it off, there’s  no dark colour on the glue joint. Again, see for yourselves.

Pine-And-Hide

Here’s what it looks like in the bottle.

Liquid-Hide-And-Pot

As you can see it looks no different than any liquid hide on the market.

It’s ironic though that it dries clear,and I’m suspecting the urea must have had something to do with that.  Tomorrow night I’ll see where the pine will break and if it’s successful as I think it should be,I’ll be making my own batch of LH from then on.

I wonder though how long the shelf life will be.

 

 


Categories: Hand Tools

Live Edge Class at Snow Farm, Massachusetts – Part 1

Popular Woodworking Editors Blog - 7 hours 9 min ago

  On Columbus day weekend I taught a live-edge furniture class at Snow Farm, a reputable New England based craft school located in the picturesque Berkshire mountains of Western Massachusetts. My six students faced a challenging task, to design and build furniture that presents a strong live-edge character, and to do so just in two and a half days of work. The weather was mostly nice and the food was […]

The post Live Edge Class at Snow Farm, Massachusetts – Part 1 appeared first on Popular Woodworking Magazine.

Categories: General Woodworking

6 alternatives to the 140 trick......

Accidental Woodworker - 7 hours 57 min ago
After I got home tonight I rushed into the house and grabbed my packages and headed for the Post Office to mail them out. In my haste I forgot the address for the backsaw. The molding planes had been addressed and ready to go all week. So I had to go back home and get the address and go back to the PO. This actually turned out to be good thing. The first time I went the parking lot was full and on the return trip there were no cars. In and out in a few and back home to try out my 140 alternatives.

I came up with 6 different ways to make the rabbet like I did with the LN 140 yesterday. I didn't do the 140 again, so I now have 7 total ways to make the rabbet for dovetails. I could have had 8 but I forgot to make one with the plow plane. If I remember I'll try and make one with it this weekend.

the first batter
I thought about this today and I decided to go with it as the first choice. I am a hand tool woodworker and I should be able to do this with hand tools. I thought of using a handsaw too but I didn't need it because the rabbet isn't that deep.  One marking gauge set the distance from the edge and the other was used to mark the depth.

depth marked
made a knife wall
removed waste going against the grain
I did this until I had evened out the rabbet from the knife wall to the edge.

within a frog hair of the gauge line
making it flat
First step is to lay the chisel in the gauge line and chop upwards from R to L.  Or L to R if you are left handed. Or you could melt down because you are in the midst of an OCD attack and can't decide.

go straight in to the shoulder

left side

middle
right side
came out pretty good
I have been using chisels more lately but I was surprised by how well I did on this. There is a faint bit of the depth line still visible. To the eye this looks even, flat, and square. I'm pretty sure that this would work but it but the real test is to do 3 more of these the same.

batting second
I ran a gauge line first and then made a knife wall.

second step was setting the iron
To the set the iron so that it projects past the side I lay it on the outboard side of the plane. Loosen the iron and it will project on the side that will be up against the shoulder. Tighten the iron and you're ready to plane.

run the plane in the knife line
The plan was to lay the plane in the knife wall titled at a 45° or more to inboard and plane. With each stroke I would bring the plane back up to 90°. That kind of worked and it didn't work.


looks a lot worse than it is
At a 45 on the first plane stroke, the iron rubbed on the top of the shoulder and blew it out a tiny bit.

cleaned up
Ratty looking but it will work.

third batter
Gauge line and knife wall were done first.

setting the iron is second
no planing in the knife wall first
I planed to the outside of the knife wall until I had a bit of depth and a shoulder. Once I had that I ran the plane up against the shoulder and completed the rabbet.

no blowout this time
The right side is off just a hair high. A couple of more passes fixed that.

fixed
batting cleanup
Same first steps as the previous two. Except setting the iron is done with the sole of the plane on the bench. I loosened the lever cap and set the iron projection by feeling it with my fingertip.

planed away from the knife wall until I had a shoulder established
got a bit of blowout on the exit side
I think I could have avoided this if I had planed a bit deeper first. In my past uses of the 10 1/2 I don't recall getting blowout like this. I also didn't make a knife wall but just starting planing the rabbet bare.

done
batting 5th
This plane has the advantage of a depth stop but I don't like using it. It is hard to set and have it hold unless you use pliers. Being a skew, it makes a clean cut on end grain.


setting the iron on the knife line
Setting this fence to a precise spot is a hit and mostly miss affair. I do it by slightly tightening one nut on one fence rod, then tapping the fence until it ends up where I want it. Here I want the top right corner to be just to the outside of the knife line.

deeper than the others
I removed the depth stop so I could better see the iron while I tried to set it up. I forgot to put it back on and before I knew it, I was this deep. This plane has a smooth action and it will remove a lot of wood in a hurry. This will work but I think this is too deep for the 140 trick.


batting last
I have used this before to make and clean up stopped rabbets. Here I'm going to use the fence and see if it will work making a '140 rabbet'.

working somewhat
There isn't a lot of plane real estate hanging out on the board. The router was tippy and I had to concentrate on keeping it flat on the board. The fence was another attention grabber. It is short and way to easy too cock in either direction. And it would cock way before I could get an 'aw shit' out of the pie hole. It worked but I ended up with a slightly bumpy rabbet.


the LN router rabbet
There is a slight hump in the board and that translated into the middle of the rabbet being higher than the two ends. The lead in on the right is also not as low as the rest of the rabbet.

the rankings
either of these could be swapped
I picked the LV #2 due mostly because it is skewed, has a fence, and a depth stop.


I like the long length of the 073 vs the bullnose
the next to last ones
I would have rated the chisel higher but demoted it because it isn't as easy to do as the others. Doing one is ok but a dovetail box requires 4 rabbets. It would take the longest of all the methods. I will try doing it on shop box just to see if I can do it.

accidental woodworker

trivia corner
Andy Griffith graduated from UNC in 1949 with a degree in what?
answer - music

IKEA—30 Years of What?

Paul Sellers - 9 hours 10 min ago

“IKEA—Democratisation of design”???? What? Yup! a couple of newspaper writers (maybe more, knowing British journalism) reported the same thing in a short space of time, both hailing IKEA as a ‘democratising’ force revolutionising people’s perspectives on furniture design. Both articles were interesting in the way some articles can be, you know, not contributing much to […]

Read the full post IKEA—30 Years of What? on Paul Sellers' Blog.

Categories: Hand Tools

Wearing a Veneer of Perfection Never Did Me Any Good...

The Part-Time Woodworker - Fri, 10/20/2017 - 3:07pm
I hope it works out better for my cabinet.

I've been out of it for pretty much the summer. I have no excuse for it, other than just being a lazy old fart. But the times they are a changin'.

In truth, I have actually been at it, not hard, but at it. I haven't written about any of it yet, but that will change over the winter months. While I'll include a few images here, I'll mainly be putting all my time and energy into getting my damned tool cabinet built, and given its size, that can only be done outdoors. Will the cabinet be anything like I have yacked about in the past? Ya, close I guess, but there will be some supple differences from the original drawings. There will also be one major difference; it will be made from veneer covered plywood. 

Going with veneer wasn't an easy decision to make. Like most in my generation, every time I saw a piece of veneered furniture I would actually cringe a bit, so deciding to use it on this project was a HUGE change for me. If you were raised during the '50s and '60s, you will remember all the mass produced furniture that was being pumped out. Walk into any Kmart or Woolworths back then and you would see acres and acres of cheap, crappy furniture that was typically made pressed board (pressed paper), smothered in less than paper-thin veneer, which as often as not, wasn't made from wood. The printed-to-look-just-like-wood plastic laminate was pure junk, as was the pressed board it was sort of stuck to. As a result of this trash furniture, I, and the majority of my generation, came to look down upon veneered furniture as cheap crap that we wouldn't give house-room to. We were wrong, but hey, it was the '50s and '60s, so none of us would listen.

So what changed my mind about veneer?

Cost.

I wanted to build a 1" thick solid maple cabinet with dovetailed joints and burled floating panels, but getting into it, I realized the material bill would equal the family jewels. Rough 5/4 maple sells for around $7 a board foot in Ontario, Canada, so I figured the wood bill for the whole thing would run around $800, plus the usual additional costs. Given this cabinet will never sit in my wife's living or dining room, and that, maybe, if I had a party or something, maybe 8 people would see it before I'm a goner, so I came to realize that a solid maple cabinet would be the epitome of overkill.

With the decision to go with veneer finally made, I started looking for a source. Enter, surprisingly, eBay. A gentleman was selling out his father's small mill, and he had a huge selection of veneers. I wanted maple, and he just happened to have some...well...actually, he had a lot. I offered to purchase 24 consecutive sheets of maple, 14" wide by 12' long for $300. Surprisingly, he took it and we both walked away from the deal happy.

I used scrap wood as spacers between the
different lengths of veneer and
sandwiched them between
two pieces of ply.
The veneer arrived stacked in sequence and rolled up together so my first job was to get it all numbered, cut to rough lengths and sandwiched between some plywood to keep it all flat. It took me about four hours to go through everything.

Where no spacers were needed, I used clamps
to hold the bundle together and keep
it all flat (the veneer outside the
ply will be trimmed off)
For the substrate, I decided to glue together two sheets of 11mm good one side plywood, giving an overall thickness of 22mm, or roughly .87". I went this route because gluing two pieces of plywood together results in a very ridged panel which is thick enough to handle any joining I could come up with. I also did a few things a bit differently because the panels will be veneered as well. I didn't bother with clamps for the glue-up. I just laid one piece good side down, then I spread yellow carpenters glue over the exposed rough face, positioned the second sheet over it with the good side up and screwed the whole lot down to the bench top (I flattened the top before I did this) using 1 1/2" deck screws. I wrapped the whole lot in a tarp and let them dry for a couple of days. The result was some great panels to work with.

Here, I just finished driving 17 screws through the ply and
into the bench top to ensure the panel dries flat

Given the wet weather we have had here this summer, the
whole lot was wrapped in a tarp which was held down
by cleats and left for a couple of days
I also think the hardest part of a cabinet to veneer is the edges, and the proof of this is how many cabinets I have seen where the edge banding has fallen off. To get past this, I bought some solid 3/4" thick maple and cut it up into 1" strips. I then glued a strip on the edges that would be exposed once the cabinet was assembled. When the glue dried I planned off the excess using my old man's No.4 Stanley plane, letting the heel of it rest on the panel so it worked as a guide. I'll run the veneer right up to the outside edge of the maple and I'll plane the whole lot flat and square.

Here the 1" strip of solid maple is glued and clamped to
the exposed edge of a side
Once I had the panels glued up and edged, I gave each side a fair coat of Bondo auto body filler. This was done to not only fill the holes caused by the screws when the panel was glued up, but to help flatten the ply, filling in the hollows that are always present in this cheaper, construction grade plywood. The Bondo will be hand sanded with a 18" sandpaper flat that will be fitted with self-adhesive 120 grit paper. The result should be hard, flat, and properly toothed for the veneer to be attached using hide glue, my first time for it as well.

Here the different panels have been coated with a thin coat
of two-part auto body filler to true their surfaces
Peace,

Mitchell
Categories: Hand Tools

Register for Classes with Megan and Brendan

Lost Art Press: Chris Schwarz - Fri, 10/20/2017 - 9:00am

Registration is now open for 2018 classes with Megan Fitzpatrick and Brendan Gaffney. The classes will be held in our storefront and are limited to six participants.

Serving-Tray

To register for Megan’s April 7-8 class on building a Dovetailed Silverware tray, click here. The class is $250 plus a small materials fee.

sector_IMG_0535

To register for Brendan’s April 21-22 class on making a Cabinetmaker’s Sector, click here. The class is $300, which includes all materials.

Full details on the classes can be found here.


Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

Filing/Honing Guide for #80 Scraper

Paul Sellers - Fri, 10/20/2017 - 8:41am

Watch the video first to see how effectively it works. Go here:   After a class, most times, I notice that  two or three (some times more) of my cabinet scrapers have been filed and honed incorrectly and end up out of square, often with the bevels are far from 45-degrees, often to a bull-nosed […]

Read the full post Filing/Honing Guide for #80 Scraper on Paul Sellers' Blog.

Categories: Hand Tools

Passing It On

Lost Art Press: Chris Schwarz - Fri, 10/20/2017 - 7:33am
BuildingBlocks

Published by John A. Gray and Green, printers. Photo courtesy of: Library of Congress, Prints & Photographs Division, LC-DIG-pga-01411.

“Utility furniture is now on the market, and everyone is able to see in what respects it differs from the uncontrolled product, and to form conclusions as to what extent we may expect it to influence furniture design of the future. The story of mankind with all its perverse, twists and turns, its chivalries, its discoveries, its unconquerable vanities, and its tragedies, stamps itself even on our furniture, so that the very line of a chair-leg or the rake of a chair-back may be a dumb witness to the end of an epoch or the herald of a new age. But there is more than mere history in the shapes of things: there is the sum total of human experience.

“When a craftsman of to-day sets to work to make a chair, the knowledge which he takes so much for granted is the stored-up inheritance of generations of craftsmen who had preceded him. He is profiting by their discoveries, their failures, and adding whatever of its own particular worth in new processes the present age has to offer. Only in our own age the ratio of skilled craftsmen is diminishing, and with so much that is good and civilised in process of being destroyed, one wonders how much will survive.

“Not that it is difficult to see that war will leave behind it advancement in some branches of knowledge, not only in weapons of destruction. We may, for instance, look for considerable advance in surgery, learned on the living bodies of shattered men, a considerable advance in chemical discovery, in aviation, but these are not the things on which our civilisation can be rebuilt. We are finding to our cost that men may have these and still be barbarous. Civilisation is founded on a sense of order, measure, proportion, self-control both of the mind and of the body, exactly the qualities which the acquisition of any true skill tends to develop. In fact, we may say that it is upon the world’s craftsmen in wood, stone, clay, who have made it possible for the living thought of one generation to be handed on to the next, to be a living witness of what man can do, and a living challenge, a standard to live up to and, if possible, surpass. To transmute the soaring vision of man’s destiny into a cathedral needed the work of stonemasons, carpenters, glassmakers, just as it took a craftsman to conceive of the letters in wood from which modern bookcraft had its beginning. Always the craftsman has been the conserver, the guardian, who passed on what was imperishable from one age to another, not failing to set his own seal upon it in the doing. Because no man’s work is exactly like anothers. There are always the little individual characteristics that stamp it as his own, giving it just that living touch which the machine will always lack.

“But now that the machine is with us, what are we to do about it? We cannot go back, even if we would. It has brought leisure and amenities which we value, and which could, if we would, be turned to good account. For leisure and amenities provide just that opportunity of developing those creative qualities of which modern life tends to rob us and which will be badly needed in the world after the war. It is only by doing creative work of some sort that a man learns both to know himself and to train himself for more and better work, and it is essentially the mark of the civilised man. To be indifferent, careless of one’s time, to want only to be amused, is to invite personal disintegration, a loss of personality which is not only a loss to oneself but to the community at large. For after the war we shall want men of personality, men of creative ability, men with patience, shrewdness and sound judgment to deal with the problems of peace. The new world cannot be a good world unless we conserve for it all that we have inherited of lasting value from the old. Only the barbarian blindly destroys. It takes civilised man—the man with the craftsman spirit—who is careful to see that beauty does not perish, to pass it on.”

— Charles Hayward, The Woodworker magazine, 1943


Filed under: Honest Labour, Uncategorized
Categories: Hand Tools

The Dance

The Mortise & Tenon Magazine Blog - Fri, 10/20/2017 - 7:00am
Click, drag, cut, ripple delete, cross dissolve, fade to black. Look out the window, let your eyes focus on the horizon. Get another cup of coffee. Stretch that mouse arm.
As I've been wrapping up the editing of our upcoming Apprenticeship: Tables video, a few observations have jumped out repeatedly. First and foremost is the irony of the fact that I can split firewood for hours with an axe, or rough out carving projects with a hatchet, and feel no ill effects - but a few days of making subtle little gestures with a mouse and keyboard can cause the most excruciating elbow pain. Lesson learned - workspace ergonomics are important!
Shavings, shavings everywhere. A project like the table Joshua built for this video can generate a small mountain of them. Shavings are the ubiquitous waste product of our craft, from the teeny little ones created by a coarse rip saw to the gossamer tissue generated by a finely-set smoothing plane. I've been wading through hours of footage involving this mass-production of shavings, and I honestly haven't yet gotten tired of looking at them. Why is that? What is it about this particular waste product that is so compelling? I can't think of another creative outlet that shares this odd distinction. Gourmet chefs don't Instagram their vegetable peels or bits of trimmed fat. Classic car buffs don't run their fingers through used motor oil. But plane shavings are endlessly captivating. 
Working with hand tools is a lot like dancing. Really. Watching hours of clips of ripping, crosscutting, planing, etc. clearly demonstrates that both rhythm and body position are extremely important in becoming efficient with the use of hand tools. Back in the day (further back than I care to admit), my wife (then fiancé) and I took up swing dance. We became quite good, I must say, eventually graduating to the Advanced class. But those early, awkward lessons stand out in my memory - stepping on toes, bumping into other people, feeling very inelegant. 
Ripping a long board by hand can feel exactly the same. Where do I put my weight? How should I hold my saw? This cut is wandering all over the place! A seemingly simple task can become an exercise in frustration, and you might find yourself agreeing with everyone who holds that hand tools are slow and difficult. But, like learning to dance, proficiency is found in practice, practice, practice. Our goal with the Apprenticeship series is to demonstrate more than simply how to cut and assemble joinery, but how to do so efficiently. We want to help these skills to become second nature so that, without a conscious thought, every cut sings straight and true. Like being on the dance floor when some Brian Setzer Orchestra comes on, your legs and arms know exactly what to do. 
It's back to editing for me. Stay tuned for more updates on Tables - it won't be long now!
~ Mike Updegraff
Categories: Hand Tools

Book Giveaway: Wooden Toys

Popular Woodworking Editors Blog - Fri, 10/20/2017 - 5:51am
Wooden Toys

Last night my kids unearthed a Rudolph the Red-Nosed Reindeer book for a bedtime story. I desperately tried to steer them back toward our wide selection of Halloween books that I’ve arranged prominently on their bookshelf. But alas, while they’re excited for Halloween, the inevitable holiday season looms large on the horizon like the Death Star in Rogue One. Apparently I need to get my holiday planning underway. And so, […]

The post Book Giveaway: Wooden Toys appeared first on Popular Woodworking Magazine.

Categories: General Woodworking

Wedging Mortise and Tenon Joints

Lost Art Press: Chris Schwarz - Fri, 10/20/2017 - 5:34am
The-Woodworker-Fig1

FIG. 1. A. AN OLD METHOD. Tenons and wedges were cut back in the stiles and a “pocket piece“ let in, making a first class finish. B. A BAD METHOD. Wedges are driven into the tenons themselves, causing splits


This is an excerpt from “The Woodworker: The Charles H. Hayward Years: Volume III” published by Lost Art Press. 

“We’ll glue those wedges and tenons!” How often is this explanation heard when gluing up framed work. A usual response being to dip the wedges into the glue and drive them hard home, unless the wedges break off or bottom badly.

If we analyse the reason for wedging a joint we find that the wedges are provided to ensure a compression in the fibres of the tenons to equalise the inevitable movement due to age and conditions. At the same time it is necessary to provide a mortise with parallel sides for the tenon, so allowing for movement.

Take as an example a through mortised and tenoned wedged joint, the shoulders being tightly fitting to ensure rigidity in the work. In framing up we glue the shoulders and a small adjacent area only of the tenon, to allow the movement along the tenon (see Fig. 3 B). It will be obvious that to solidly glue the whole joint is defeating the essential object of that particular joint.

The logical method would be to glue the shoulders as usual, place the long grain edge of the wedge to the tenon, but do not glue (it may in fact be slightly greased), but gluing the remaining parts of the wedge into the mortise of the stile, making a parallel path for the tenon, but under compression. A joint made in this manner will not open at the shoulders.

The-Woodworker-Fig2

FIG. 2. DIAGONAL WEDGED TENONS IN THIN WOOD. This method is permissible in this case

In the case of double tenons, drive the outside wedges first to set the compression, the inner ones then being driven to equalise the compression on the tenons.

Good quality work of the old days had the tenons and wedges cut back in the stiles to allow for shrinkage clearance, and a pocket piece let in and flushed off in the stiles, making a workmanlike job (Fig. 1 A).

The-Woodworker-Fig3

FIG. 3. A. THE EFFECT OF WEDGES INSERTED IN THE TENON AND GLUING ALL OVER. Tenon is held at outer edge of stile and shrinkage takes place away from shoulder B. THE CORRECT METHOD. Wedges are placed between tenon and sides of mortise, and only the shaded area of tenon is glued. Shrinkage of stile can then take place at its outer edge, but shoulder holds firm


A Bad Fault.
An odious method becoming prevalent to-day is tenon splitting and wedging the tenon out into a fantail in the mortise; it is apparent that the least shrinkage will pull the shoulders right open, when all rigidity in the work vanishes (see Figs. 1B and 3A).

Such a method is only permissible when diagonal wedging in thin material such as carcase construction, shelves to ends (Fig. 2), or in fox-wedging in the appropriate joints.

Selecting suitable joints and framing them up is a complicated matter at times, but consideration on the foregoing lines will amply repay the craftsman in the quality of the work he produces.

Meghan Bates


Filed under: Charles H. Hayward at The Woodworker
Categories: Hand Tools

My video(s) on Japanese woodworking tools have dropped

Giant Cypress - Fri, 10/20/2017 - 3:28am
image

Look what just dropped, as the kids say.

This past summer I had the great good fortune to spend a weekend in Frank Klausz’s shop filming videos on Japanese woodworking tools for Popular Woodworking. Yesterday a package arrived with some of the first copies of the DVD version. Although the original plan was to make four half hour segments, it turned out to be almost three full hours of video covering Japanese chisels (and hammers), saws, and planes, and an overview of why Japanese tools have the properties that they do that I called, “Everything You Ever Wanted to Know About Japanese Tools But Were Afraid To Ask”. (Apparently that title was too long.) 

The DVD is available at shopwoodworking.com, Popular Woodworking’s online store, and can also be purchased as a download. The four individual segments are also available as downloads.

Going into this project, I wanted this to be high quality, knowing the high bar for videos that Marc Spagnuolo, Shannon Rogers, Matt Cremona, and yes, Fine Woodworking have set. I can say that the production quality was beyond what I expected. David Thiel and Aaron Allen did a terrific job shooting the video, and I know from personal experience that it is hard getting good shots of shiny metal tools, which they were able to do. David and Aaron also did a great job helping me work through my first real video shoot.

Here’s what you’ll find in these videos. I’m going on the assumption that the viewer is an average woodworker, with a typical workshop, looking to incorporate Japanese chisels, saws, and planes into their workflow. You don’t have to be a full-on Japanese woodworker to enjoy using these tools. 

I also try to demystify Japanese woodworking tools. For the tool segments, I take a practical approach to the use and set up of these tools. The more esoteric stuff is saved for the “Everything You Ever Wanted to Know About Japanese Tools But Were Afraid To Ask” section, but I like to think I provide a straightforward, practical explanation as to why Japanese tools can be sharpened to such a fine degree while also having such excellent edge retention, among other things.

Anyway, I hope you like the videos half as much as I enjoyed making them.

in and out real quick.......

Accidental Woodworker - Fri, 10/20/2017 - 12:51am
Made a decision to send the new (to me) back saw out to be sharpened. I could probably do it but I doubt I would be able to do with any competency worth more than a bucket of spit. I do think that I can the follow on and maintain the saw afterward.  I got the email sent and I am just waiting permission to ship it.

Making the box for it tonight is all I did. I gave up trying to find cardboard boxes a long time ago. Besides cardboard could be easily punctured and maybe in the wrong spot. I can only remembering sending out one saw in a cardboard box many, many lunar eclipses ago. It was a nightmare cutting and making new flaps because I had to cut down a larger box. Making a specific box out of wood is a no brainer to me.

french fit in foam insulation
I thought I would be clever and french fit the saw in this. I traced the outline of the saw and followed that up with a knife cut made with a sheet rock blade. This insulation was the packing in the box that my #6 came in from Timeless Tools & Treasures.  I would have used this insulation and that box but the box is on it's way to China by now and I was left with the insulation.

not cooperating
I can very easily make a downward cut with the chisel but one laterally is not working. This foam will saw quicker than a hot knife going through butter but balks at being chiseled. It doesn't like evacuation work with a chisel at all. I thought of heating the chisel and doing it that way but I wasn't sure of the fumes. I wouldn't want to wake up tomorrow with a third eye in the middle of my forehead.


saw packed up
 I used a scrap piece of pressure treated fence picket for the sides and 1/4" flooring plywood for the top and bottom. It's the same construction as the one I made for the panel rip saw.

almost ready to go
I have to get the ok for this, put the to and from addresses on a piece of paper in the inside, add few more screws, and I can ship it. The panel saw cost me $11.60 priority and if I had used priority boxes it would have cost $13 and change.  I don't expect this to cost much more than what the panel saw was.

Tomorrow I am going to try the 140 trick employing some of my other planes. I got a comment about making it with the Lee Valley skew rabbet plane which I don't doubt would work. I'll remove all doubt tomorrow on that and try a few other tools.

accidental woodworker

trivia corner
Which US President was taught to read and write by his wife?
answer - Andrew Johnson our 17th president

Fish Glue Merciless

Journeyman's Journal - Thu, 10/19/2017 - 11:10pm

I use hide glue when making up the blanks for the moulding planes, but I don’t like how the colour of hide glue at the join shows that it’s laminated. So I made a trial run with fish glue as I know it will dry to a clear finish and is just as strong as hide glue.

Animal products is not a gap filler, but hide glue to a small degree will fill some small gaps. Fish glue on the other hand shows no mercy. If the join isn’t tight enough, it will not fill it and will remind you how much you suck at woodworking. This means your work has to be God like and how is that possible?

Fish-Glue

As you can see in this scrap of beech, I ripped it into four separate pieces, jointed and edge glued each one individually. You can clearly see that the glue did not fill the gap in the top right corner, but the left side was well done so it’s a seamless join.

I haven’t had the balls to try this when laminating the blanks, because I’m sure there would be gaps on such a large surface.

I think in making up the blanks if you don’t want to see a dark brown colour at the join, then white PVA glue would be a better option.


Categories: Hand Tools

Barely Legal

Lost Art Press: Chris Schwarz - Thu, 10/19/2017 - 4:16pm

exit_IMG_9337

We had our first inspection from the Covington fire department this week and were told to fix something I’ve been meaning to get around to for 18 months: an exit sign.

We had a lighted exit sign when I purchased “The Blaze” more than two years ago. But the sign was super nasty, painted in glitter and covered (somehow) with hair. Hair? What the…? I ripped down the sign when I removed the odd ventilation fan (also covered in hair) and about three metric miles of sub-code electrical wiring.

Today we installed a hairless exit sign that was 100 percent to code, and we’re added an “anti-blowjob” light to the front door to boot. I feel this light needs explanation.

Our shop is on a busy street corner that is used by everyone from elementary school students to prostitutes. When the sun goes down, some of the prostitutes have decided to use our shop’s stoop for their customer service duties. When this happens, the neighbors call the cops, and I get a nastygram from the police about the illegal activity on my property.

If I receive a couple more of those police reports I’m told I might be declared a nuisance by the city.

And so I debated today as to whether I should install a light above our door or monetize the whole thing with a webcam.

We’re going with the light.

— Christopher Schwarz


Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

Video: Circle Jig for the Band Saw

Popular Woodworking Editors Blog - Thu, 10/19/2017 - 12:14pm

Band saws are great for cutting curves but when you need a perfect circle, you need a jig. I’ve used many circle-cutting helpers over the years and the design presented by Tom Caspar in the video below combines the best features from all of them. The jig is held in place on the band saw table using a bar in the miter slot and it features an adjustable pivot point […]

The post Video: Circle Jig for the Band Saw appeared first on Popular Woodworking Magazine.

Categories: General Woodworking

How to Read, by an Oak-snob

Peter Follansbee, joiner's notes - Thu, 10/19/2017 - 11:14am

I’ve been slow to add stuff to the blog here. Time to correct some of that. Today’s chore is splitting up some leftover bits of oak, and some newly dropped-off bits. Here’s how I read these, and how I decide what to split from a few different bolts. the first one is an old one, been split & hanging around a long time, over a year I’d say. It was given to me about 2 months ago. Free wood is sometimes not worth it. this is one of those cases. Note how the radial plane is cupped. This isn’t from drying, it’s the way the tree grew. The medullary rays curve from the center of the tree to the bark. So if I want wide flat stuff from this, I have my work cut out for me. What I do with such a piece of wood depends on several things: what I need at the time, how much effort I want to put into it, and how much other wood I have around. These days, wood is in pretty good supply, time much less so. Thus, I want to get the best piece I can from this as quickly as possible.

The ruler shows how “un-flat” the split is.

The piece was 26″ long, but with the checking at each end, I expect to get about 22″ length out of it. Just right for a joined stool stile (leg). So I opted to split a 2″x 2″ square out from right below the sapwood. First split with the froe gets off the inner twisted bits.

Next I split off the sapwood & bark. Surprise, the sapwood sheared off across the grain. Usually a log that has been around this long has punky rotten sapwood – I expect that. But to shear off like that means there’s something underneath…

And there was – some deformity curving the grain near one end. So didn’t get my 2″ x 2″ x 22″ stile. The resulting piece could be a ladderback chair front post (something I want to build, but have no time for right now. I’ve made parts for 3 of them so far this fall.) or the leg to a workbench out in the yard. I already have maybe 4 of those benches. On to the next split.

This one’s big & fresh. Just came in yesterday. Bark looks good. Very wide bolt, maybe 12″ or more.

But a big knot creating disturbed grain all around it, the full bottom third or more.

I always am working between getting the biggest piece (widest) I can, or getting the best piece of wood I can. Usually I want the best one. Which in this case, is much narrower than what I first expected from a section like this. See the ruler here, the best (straightest, flattest, least-work) piece is from the 10″ mark to 15″. So that’s what I split.

 

Now the distorted stuff is isolated in the right-hand section, destined for firewood.

Then I further split the remaining stuff into four thin boards for carved boxes, or narrow panels for the sides of some chests. Once I don’t think about where they came from, these are excellent clear, straight boards. This is a case of free wood that is worth it.

One of the older bits looked promising: wide, maybe 7″ or more. 24″ long.

But when I sighted down its length, lots of twist from one end to the other. I didn’t shoot it well enough, but you can generally read the twist down at the far end. Its right hand corner is high, as is the left corner nearest us. Means some hewing before planing. Not fatal, but maybe there’s better wood out here.

Yup. Fresh too. (that means easier to work…) Shorter, but wider.

When I scooch down and sight its radial plane, dead flat! That’s the stuff I’m after…

Gonna have lunch and find some more like this one.

 

Want to learn more about how to read these logs – Plymouth CRAFT has a weekend class coming up that’s just the ticket.  https://www.plymouthcraft.org/riving-hurdlemaking-weekend

Riving, hewing, drawknife work. Me, Rick McKee ( https://www.instagram.com/medullary_rick/  and https://blueoakblog.wordpress.com/  ) and our friend Pret Woodburn will show you all we know about opening oak logs and what to do with them.

 

 


Adventures in Teaching a Woodworking Class

Bob Lang's ReadWatchDo - Thu, 10/19/2017 - 11:10am
Last week I was at the Marc Adams School of Woodworking teaching a dozen woodworkers how to make a chair. Usually when I teach I write about the class ahead of time, but this was different from the norm. I Continue reading →
Categories: General Woodworking

Bill Carter Shows How to Make a Dovetailled Mitre Plane

David Barron Furniture - Thu, 10/19/2017 - 10:13am

Bill Carter has produced a whole series of videos on how to make his wonderful mitre planes. The pace is a little slow (he is nearly 80)  but if you set the time aside there are some wonderful gems to be found and if you fancy having a go at making one of these planes then they are invaluable.
Categories: Hand Tools

The Highland Woodturner: Rotary Texturing Tools

Highland Woodworking - Thu, 10/19/2017 - 8:00am

In the October 2017 issue of The Highland Woodturner, Curtis Turner takes a closer look at the Rotary Texturing Tools available at Highland.

I have other types of texturing tools and enjoy using them, so I was eager to try out something new. I have only had these a short time, however, it is clear to me these tools can easily add new embellishments to a range of turned wood items. They are so simple to use and there is virtually no learning curve.

Click here to read more of Curtis’s review of the Rotary Texturing Tools.

The post The Highland Woodturner: Rotary Texturing Tools appeared first on Woodworking Blog.

Categories: General Woodworking

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